DOCSLIB.ORG

PL. LXI.J the Position of Polykleitos in the History of Greek

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PL. LXI.J the Position of Polykleitos in the History of Greek A TERRA-COTTA DIADUMENOS. 243 A TERRA-COTTA DIADUMENOS. [PL. LXI.J THE position of Polykleitos in the history of Greek sculpture is peculiarly tantalizing. We seem to know a good deal about his work. We know his statue of a Doryphoros from the marble copy of it in Naples, and we know his Diadumenos from two marble copies in the British Museum. Yet with these and other sources of knowledge, it happens that when we desire to get closer to his real style and to define it there occurs a void. So to speak, a bridge is wanting at the end of an otherwise agreeable journey, and we welcome the best help that comes to hand. There is, I think, some such help to be obtained from the terra-cotta statuette recently acquired in Smyrna by Mr. W. R. Paton. But first it may be of use to recall the reasons why the marble statues just mentioned must fail to convey a perfectly true notion of originals which we are justified in assuming were of bronze. In each of these statues the artist has been compelled by the nature of the material to introduce a massive support in the shape of a tree stem. That is at once a new element in the design, and, as a distinguished French sculptor1 has rightly observed, this new element called for a modification of the entire figure. This would have been true of a marble copy made even 1 M. Eugene Guillaume, in Eayet's dell' Tnst. Arch, 1878, p. 5. He gives Monuments de VArt Antique, pt. 3, the de Janze bronze in pl. S, the pl. 1 (Doryphorus). The Vaison Dia- Farnese Diadumenus in pl. A, the dumenus is given by Rayet in pt. 4, Vaison Diadumenus in the Monumenti pl. 1, and the De Janze bronze statuette ddV Inst. Arch. x. pl. 49, and the in the Bibliotheque at Paris, in pt. 4, Doryphorus, ibid. pl. 50. pl. 2. Cf. Michaelis in the Annali 244 A TERRACOTTA DIADUMENOS. in the time of Polykleitos himself. But none of the marble copies of his works that we possess go nearly so far back. They are separated from him by centuries, during which some striking innovations were made. In particular a new canon of propor- tions for the human figure had been introduced by Lysippos, and this canon, which affected Polykleitos more than any other THE VAISON DIADUMBNOS. sculptor, had become the standard for subsequent art. The copyist of later days was thus in danger of incorporating the system of proportions in which he had been trained with the actual proportions of Polykleitos whom he was set to imitate. We see this clearly in the marble statue of a Diadumenos from Vaison, in the British Museum. The proportion of torso to A TERRA-COTTA DIADUMENOS. 245 thigh is there the proportion introduced by Lysippos, while the shape of the head, the great breadth of the shoulders, and perhaps some other features are no less distinctly retained from Polykleitos. In such circumstances no two copyists could be expected to work alike, and accordingly in another marble statue of a Diadumenos, which the British Museum was fortu- nate in obtaining from the Farnese collection, we find much less of Lysippos. The length of the torso and the thigh is more equalized, and we seem to be getting back nearer to the actual proportions of the original in this respect; since it can hardly be doubted that in the canon of Polykleitos a long and massive torso was as conspicuous a feature as was the long thigh in the canon of Lysippos. But these two statues, though they retain much from the bronze original, are yet far from adequate to convey an exact notion of its proportions and style. We must still look for a copy executed under more favourable conditions. In some measure we have that in Mr. Paton's terra-cotta. The diminished scale would no doubt lead to error in some parts. But there are, here at least, no exigencies of material to call for modifications. In such details as the hollowing out of the pupils of the eyes, in the gilding of the diadem of which traces only now remain, and in the peculiar form of the nipple on the right breast, the artist has obviously followed a bronze original. It must have been from this motive also, I think, that he has worked over the whole surface with a fine ivory tool, so as to break, by an infinite series of scarcely perceptibletouches, the light which falls on the figure, and which otherwise would have a glossy effect on the clay. One of the charms of fine Greek bronzes is the subtle preparation of all surfaces for the effects of light. I need not sa}^ that this is also one of the charms of nature. We may conclude then that the sculptor of the terra- cotta was inspired by a work in bronze—not precisely inspired to imitate the actual surface of a bronze, but to produce by means of his own an effect which he had observed in a fine bronze. A few measurements will show that he was quite independent of Lysippos in the matter of proportions, and for this purpose I have compared the terra-cotta with the Vaison Diadumenos, adding also certain measurements of the Farnese statue to 246 A TERRA-COTTA DIADUMENOS. confirm what has been said as to its being the nearer of the two to the original of Polykleitos : TEERA-COTTA. VAISON. FAKNESE. Crown of head to below 1 ll|"=-295m. 54" =1-373 m. knee-cap / Collarbones to top of pubes 4|"=-119m. 21" ='530m. 16j"=-428m. Length of thigh as marked ) 4|"=-111 m. iu diagram ) 22|"=-568m. Elbow to elbow .... 71"= '200 m. 37" = -940 m. In comparing the measurements of so small a figure as the terra-cotta with a statue rather over life-size, there is so much liability to error, that I would have hesitated but for the marked manner in which the terra-cotta inverts the proportions of Lysippos, and preserves those of Polykleitos. No error that I can have made will alter that fact, which indeed is apparent at the first glance. In the Vaison statue the massiveness of the shoulders and arms is a noticeable feature; in the terra-cotta it is even striking, so much so that it may be open to doubt whether there is not here some exaggeration. The neck is robust and very finely fashioned, forming a pleasant contrast to the too short neck of the Vaison figure. The head is practically of the same shape as in both the marble statues, and we may take it to represent the original so far. But the terra-cotta has this advantage that the nose is intact It is the same long and finely formed nose which we see in the head of Hera from Agrigentum,1 now generally accepted as one of the best, if not the best repre- sentation we possess of a female head by Polykleitos. The upper lip is rendered with much the same effect as in the Hera. Throughout the figure the modelling of bones and muscle is carried out with great refinement as well as with force. But the artist is not responsible for a small part under the ribs on the right side. That with some other parts which interfere less with the artistic effect is the work of the restorer. 1 Published by Helbig in Man. dell' last. Arch. is. pi. 1. A TERBA-COTTA DIADUMENOS. 247 In conclusion, I feel bound to approach the difficult question of the date of this terra-cotta. It is no doubt possible that it may have been made after the time of Lysippos by an artist who had the original before him, or perhaps rather some good copy, and who rigidly excluded from his view all his own special training, in such matters as proportion at least. But there is a small bronze in the Bibliotheque at Paris, representing this same subject, which again shows how difficult it was for an artist living after the time of Lysippos to get away from his influence. And thus, while unwilling to call such an escape impossible, I would still prefer to think that the terra-cotta has been executed previous to this over-mastering influence. But how far previous ? Between Polykleitos and Lysippos more than a century elapsed, during which period we may assume that the statues of athletes by the earlier of these two masters continued to attract the admiration of artists. If we must choose between the beginning and the end of this period, I would choose the end; for this reason, that the terra-cotta seems to me to have a decided mark of the intervening influence of Praxiteles. The manner in which the thighs are modelled recalls nothing so much as the Hermes of Olympia. In Callis- tratus,1 we have a description of a statue of a Diadumenos by Praxiteles, and if everything that Callistratus said was intelligible and true, we might suppose that Praxiteles also was among those who made a special study of the type of athlete by Polykleitos. So much at least seems certain, that the maker of the terra-cotta has engrafted on his model Dia- dumenos some of the manner of Praxiteles. For this among other reasons, we may perhaps be justified in assigning it to the short period between Praxiteles and Lysippos. To judge from the appearance of the clay, the figure must have been made in Asia Minor, and if in the neighbourhood of Smyrna, where I understand Mr.
Load more

Recommended publications
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • A Masterpiece of Ancient Greece
    Press Release A Masterpiece of Ancient Multimedia Greece: a World of Men, Feb. 01 - Sept. 01 2013 Gods, and Heroes DNP, Gotanda Building, Tokyo Louvre - DNP Museum Lab Tenth presentation in Tokyo The tenth Louvre - DNP Museum Lab presentation, which closes the second phase of this partnership between the Louvre and Dai Nippon Printing Co., Ltd (DNP), invites visitors to discover the art of ancient Greece, a civilization which had a significant impact on Western art and culture. They will be able to admire four works from the Louvre's Greek art collection, and in particular a ceramic masterpiece known as the Krater of Antaeus. This experimental exhibition features a series of original multimedia displays designed to enhance the observation and understanding of Greek artworks. Three of the displays designed for this presentation are scheduled for relocation in 2014 to the Louvre in Paris. They will be installed in three rooms of the Department of Greek, Etruscan and Roman Red-figure calyx krater Signed by the painter Euphronios, attributed to the Antiquities, one of which is currently home to the Venus de Milo. potter Euxitheos. Athens, c. 515–510 BC. Clay The first two phases of this project, conducted over a seven-year Paris, Musée du Louvre. G 103 period, have allowed the Louvre and DNP to explore new © Photo DNP / Philippe Fuzeau approaches to art using digital and imaging technologies; the results have convinced them of the interest of this joint venture, which they now intend to pursue along different lines. Location : Louvre – DNP Museum Lab Ground Floor, DNP - Gotanda 3-5-20 Nishi-Gotanda, Shinagawa-ku, Tokyo The "Krater of Antaeus", one of the Louvre's must-see masterpieces, Opening period : provides a perfect illustration of the beauty and quality of Greek Friday February 1 to Sunday September 1, ceramics.
    [Show full text]
  • Focus on Greek Sculpture
    Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life.
    [Show full text]
  • HELLENISTIC ART O. Palagia This Chapter Deals with Art In
    CHAPTER 23 HELLENISTIC ART O. Palagia This chapter deals with art in Macedonia between the death of Alexander III (“the Great”) in 323 bc and the defeat of Perseus, last king of Macedon, at the battle of Pydna in 168 bc. As a result of Alexander’s conquest of the Persian Empire, a lot of wealth flowed into Macedonia.1 A large-scale con- struction programme was initiated soon after Alexander’s death, reinforc- ing city walls, rebuilding the royal palaces of Pella and Aegae (Vergina) and fijilling the countryside with monumental tombs. The archaeologi- cal record has in fact shown that a lot of construction took place during the rule of Cassander, who succeeded Alexander’s half-brother Philip III Arrhidaios to the throne of Macedon, and was responsible for twenty years of prosperity and stability from 316 to 297 bc. Excavations in Mace- donia have revealed very fijine wall-paintings, mosaics, and luxury items in ivory, gold, silver, and bronze reflecting the ostentatious elite lifestyle of a regime that was far removed from the practices of democratic city- states, Athens in particular.2 Whereas in Athens and the rest of Greece art and other treasures were reserved for the gods, in Macedonia they were primarily to be found in palaces, houses, and tombs. With the exception of the sanctuary of the Great Gods of Samothrace which was developed thanks to the generous patronage of Macedonian royalty from Philip II onwards, Macedonian sanctuaries lacked the monumental temples and cult statues by famous masters that were the glory of Athens, Delphi, Olympia, Argos, Epidauros, or Tegea, to name but a few.
    [Show full text]
  • (Microsoft Powerpoint
    LYSIPPOS AND A NEW CANON Curated by Anna Mattedi The great Late Classical sculptor Lysippos, was so renowned that Alexander the Great selected him to create his official portrait; Lysippos introduced a new canon of proportions: the body were more slender than those of Polykleitos, the heads 1/8 the height of the body; Alexander the Great. Copy after a statue by Lysippos, ca. 330 BC. Glyptotek Munich The new proportions may be seen in one of Lysippos ’s most famous works, a bronze statue of an apoxyomenos (an athlete scraping oil from his body after exercising), known from Roman copies in marble APOXYOMENOS, LYSIPPOS Lysippos, Scraper. Roman marble copy after a bronze original of 330 BC. Vatican Museums, Rome. A nervous energy runs through the Apoxyomenos that one seeks in vain in the balanced form of the Doryphoros; The strigil (scraper) is about to reach the end of the right arm, and at any moment the athelete will switch it to the other hand so that he can scrape his left arm; At the same time he will shift his weight and reverse the position of his legs; Lysippos also began to break down the dominance of the frontal view and encouraged the observer to look at his athlete from multiple angles; Because Lysippos represented the Apoxyomenos with his right arm boldly thrust forward, the figure breaks out of the rectangular box that defined the boundaries of earlier statues; To comprehend the action, the observer must move to the side and view Lysippos ’s work at a three-quarter angle or in full profile; THE HELLENISTIC PERIOD The
    [Show full text]
  • Individuality Innovation in Greek Sculpture
    individuality innovationand in greek sculpture » ANDREW STEWART When we encounter some new invention individuality and innovation or discovery, it is natural to ask who invented, in Greek sculpture from Wdiscovered, created, or produced it.1 The ancient antiquity to the present. Greeks were no exception. Indeed, their urge Part II offers a few cautionary to connect every novelty with a famous name remarks about craftsmanship seems almost obsessive, even pathological. The and the limitations it imposed gods were first in line. Demeter gave us grain, on individual initiative in ancient Dionysos gave us wine, Athena gave us the Greece. And finally Part III presents olive, and so on; then, coming down a notch, some test cases from the fifth Prometheus gave us fire, Orpheus gave us century BC, in order to examine what music, and the Cyclopes taught us the crafts.2 individual achievement could amount By the seventh century BC, a formula was to in that golden century. coined: the prôtos heuretês—the ‘first discoverer’ of this or that new skill, artefact, literary genre, I. SCHOLARSHIP: or social practice.3 The keyword here is technê. ANCIENT AND MODERN Basically untranslatable, it is best understood through its two English derivations, technique Although the invention of the and technology. Technê is the understanding, Doric and Ionic orders, and ingenuity, and skill that one applies to a of the two main archaic problem in order to solve it, or to brute matter sculptural types, the in order to make something useful of it.4 standing naked youth The Greeks soon realised that technê was the (kouros) and standing driving force behind the advance of civilization, draped woman (korê), and applied the word to any skill, craft, art, or seem to predate not profession that contributed to this advance.
    [Show full text]
  • Hippolytos and Lysippos: Remarks on Some Compounds in ‘Ιππο-, -Ιπποy1
    2 Hippolytos and Lysippos: Remarks on some Compounds in ‘Ιππο-, -ιπποy1 LAURENT DUBOIS THIS PAPER IS BASED ON THE MATERIAL collected in Bechtel’s lists2 and in the first three volumes of the splendid Lexicon of Greek Personal Names.I should like to discuss, with the help of a specific example, namely the com- pounds in ‘Ιππο- and -ιπποy, the semantic relationship between the first and the second element of the compound in some personal names. My teacher, Olivier Masson, with his customary philological caution, did not often address this problem, but simply spoke of a ‘beautiful Greek name’ when the two elements of a new personal name were both recognizable and well attested. I think that this beauty deserves a more systematic analysis in both morphological and semantic terms. At the risk of seeming illogical I shall begin by discussing some -ιπποy names which make no sense as normal words. They come into existence through a wish to preserve in the name given to a newborn child some fea- tures of a family’s traditional names. The combination of elements which we find in compounds of this type cannot be justified on the basis of any phrase or word-combination found in ordinary language. Everyone remembers the passage in Aristophanes’ Clouds (60–80) in which Strepsiades describes the quarrel with his wife over the naming of their son (cf. above, 18). The result- ing compromise, Φειδιππ δηy (which, it should be noted, is not a mere comic joke, because the name is attested, see LGPN I and II s.v.) combines 1 I wish to thank my friends and colleagues G.
    [Show full text]
  • AP Art History Chapter 5: Greek Art Mrs. Cook
    AP Art History Chapter 5: Greek Art Mrs. Cook Define the following terms Key Heroes, Gods & Goddesses: Athena (Minerva), Zeus (Jupiter), Herakles (Hercules), Apollo, Aphrodite (Venus) Geometric and Orientalizing Periods ‐ Key Terms: krater, amphora, meander or key pattern, centaur, siren, black figure painting, slip, Daedalic Style Archaic Period‐ Key Terms: kore (p. korai), kouros (pl. kouroi), Archaic smile, peplos, chiton, himation, gorgon, apotropaic figure, encaustic, black‐ and red‐figure painting, bilingual painting, foreshortening, gigantomachy Greek Temple Terms: naos or cella, pronaos, opisthodomos, anta/antai, columns in antis, colonnade (types: prostyle, amphiprostyle, peristyle, peripteral, dipteral), cult statue, treasury Early and High Classical Periods: Key Terms: Severe Style, contrapposto, bronze hollow cast/lost wax process (investment, chaplets), Canon of Polykleitos, centauromacy, Amazonomachy, white ground painting, lekythos Late Classical Period Key Terms: hydria, apoxyomenos, strigil, pebble mosaic, tessera mosaic, Corinthian capitals, tholos Hellenistic Period: Key Terms: hypaethral, stoa, portico Exercises for Study: 1. Enter the approximate dates for these periods, and identify key characteristics of the art and architecture of each: Geometric and Orientalizing Art: Archaic Art: Early and High Classical Art: Late Classical Art: Hellenistic Art: 2. Compare and contrast the following pairs of artworks, using the points of comparison as a guide. 2A. Corinthian black‐figure amphora with animal friezes, from Rhodes, Greece, ca. 625‐600 BCE (Fig. 5‐5); Andokides Painter, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto, Italy, ca. 525‐520 BCE (Fig. 5‐21). • Materials • Stylistic features 2B. Kouros, from Attica, Greece, ca. 600 BCE (Fig. 5‐7); Kritios Boy, from the Acropolis, Athens, Greece, ca.
    [Show full text]
  • The Use of Cues for Attention in Ancient Greek Art: Aspects That Influence Concentration in the Work of Art and Its Elements Arte, Individuo Y Sociedad, Vol
    Arte, Individuo y Sociedad ISSN: 1131-5598 [email protected] Universidad Complutense de Madrid España Duarte, Antonio Manuel; Stefanakis, Manolis I. The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements Arte, Individuo y Sociedad, vol. 27, núm. 3, 2015, pp. 517-535 Universidad Complutense de Madrid Madrid, España Available in: http://www.redalyc.org/articulo.oa?id=513551298010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements El uso de señales para la atención en el arte Griego antiguo: aspectos que influencian la concentración en la obra de arte y sus elementos Antonio Manuel Duarte Universidade de Lisboa, Faculdade de Psicologia [email protected] Manolis I. Stefanakis University of the Aegean [email protected] Recibido: 26 de septiembre de 2014 Aprobado: 8 de junio de 2015 Abstract The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca.
    [Show full text]
  • ALEXANDER III the Men Who Roa4e GREAT
    ALEXANDER III the men who roa4e GREAT By Lori Alterman [Master of Philosophy Faculty of Arts University of Glasgow] Christie's Education London Master's Programme September 2000 ProQuest Number: 13819010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13819010 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW } u n iv e r sit y LIBRARY: v " TABLE OF CONTENTS Comparative illustrations Abstract Acknowledgements Chapter 1 Introduction, 5 Chapter 2 The Men W ho Made Him Great, 8 Chapter 3 The Artists, 17 The Sculptors, 18 The Painters, 26 The Gem-Cutter, 31 Chapter 4 The Coins, 32 Chapter 5 The Legacy, 36 Conclusion 43 Glossary 44 References 46 Bibliography 5 0 Catalogue 54- '‘v-v. 1 Comparative illustrations 1. The Tyranicides. Marble, Roman copy, Naples, Museo Nazionale G 103-4. 2. Bronze Zeus. Bronze, ca. 460 BC, Artemisinin. Athens, National Museum. 3. Gold Medallion o f Olympias. Gold, 3rd Century BC, Abukir Treasure, Thessaloniki, Archaeological Museum. 4. Doryphoros. Marble, Roman copy, Naples, Museo Nazionale, G146.
    [Show full text]
  • The History of Cardinal Farnese's 'Weary Hercules'
    August 2005 Iron Game History The History of Cardinal Farnese's "Weary Hercules" Jan Todd The University of Texas at Austin Rear view of the Farnese Hercules by famous engraver Michael Van Der Gucht (1660-1725). Van Der Gucht made three studies of the Farnese--front, rear, and a side view which we use on the Iron Game History masthead. Van der Gucht's engravings of the Farnese are remarkable for their heavy muscling and anatomi- cal accuracy. Joe Weider, the the history of the statue and discusses its significance to godfather of mod- the early physical culture movement of the late nine- ern bodybuilding, teenth and early twentieth centuries. The popularity of told me in an inter- the Farnese as an ideal for twentieth-century bodybuild- view last year that ing will be more fully explored in a subsequent article. it was a boyhood trip to the museum in Montreal which No one knows what the earliest version of the set him on his career path. According to the now 84-year statue really looked like but the evidence is strong that it old Weider, "Seeing the Farnese Hercules was a revela- was a slightly-larger-than-life-sized bronze, created by tion—a turning point in my life. It became the ideal I the sculptor Lysippos at about the time of Alexander the held in my head of what a bodybuilder should look like, Great's death—323 B.C.E.3 Lysippos, who was attached and I don't know of any other piece of art that personi- to Alexander the Great's court, was known for his intro- fies power so effectively.
    [Show full text]
  • Roman Sculpture in Context: Selected Papers in Ancient Art and Architecture, Volume 6
    Fairfield University DigitalCommons@Fairfield Visual & Performing Arts Faculty Book and Media Gallery Visual & Performing Arts Department 2-2021 Roman Sculpture in Context: Selected Papers in Ancient Art and Architecture, Volume 6 Peter D. De Staebler Anne Hrychuk Kontokosta Marice Rose Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts-books Copyright 2021 Archaeological Institute of America Recommended Citation De Staebler, Peter D.; Hrychuk Kontokosta, Anne; and Rose, Marice, "Roman Sculpture in Context: Selected Papers in Ancient Art and Architecture, Volume 6" (2021). Visual & Performing Arts Faculty Book and Media Gallery. 23. https://digitalcommons.fairfield.edu/visualandperformingarts-books/23 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Chapter Ten Body/Culture: Display and Reception of the Farnese Hercules Marice Rose Abstract The Farnese Hercules, discovered in 1546 in the Baths of Caracal- la’s central hall, has a rich history of reception. After its display in the Farnese Palace became an essential stop on the Grand Tour, versions were created in various sizes and media, and it continues to be replicated by artists and for domestic interior design.
    [Show full text]